Scanning trax by ti…. Gust De Meyer. Anyway, these minimalist pieces were produced under a strict guideline : the exclusive use of the Casio VL 1, a japanese monophonic synthesizer and calculator. Between and 19…. Bjorn Eriksson. This collection of compositions could be a soundtrack for a East European saga or a French strange detective serie. Although The Easywood KIller is a solo project, there will be a live grou….
Renato GriecoBruno Duplant. Matte finish. Text by Xavier Veilhan. The music score and its interpretation reflect constraint as a process. The score is dedicated to Reinier Van Houdt. Renato Grieco plays double bass and baroque double bass.
Recorded by Renato Grieco. Organism landed themselves a place on the legendary Vanity Records roster after sending label head Agi Yuzuru a cassette by air mail in order to fool him into thinking they were from overseas. The ploy worked, and the group soon entered the studio for free-form Main Titles - Roy Budd - Get Budd - The Soundtracks (CD) of minimalistic, rhythmic excursions played on an array of synths, drum machines and other gadgets.
Marco Paltrinieri. The only common factor was the presence of Caine himself, tasked with the job of developing the nuances of character suggested by four very different roles: the laconic intelligence operative of director Sidney Furie's Ipcress Filethe crafty Lothario of Lewis Gilbert's Alfiethe wisecracking bank-robber of Peter Collinson's Italian Job and the vengeful killer of Mike Hodges ' Get Carter.
At a time when pretty boys such as Michael York and David Hemmings were Britain's screen heart-throbs, Caine managed to make wearing spectacles seem attractive, partly because he knew how to use the eyes behind them to show the process of thought. In the absence of original scores, Edwards and his band will work from transcriptions, although their interpretations are unlikely to be literal.
For The Ipcress FileBarry made sparing but effective use of the trombone stabs and fluttering alto flutes that were becoming a feature of spy flicks. Rollins's Alfie soundtrack — taped in a London studio with a band that included Ronnie Scott and Stan Traceybut then re-recorded for LP release in New York with American musicians — consisted of undiluted modern jazz.
Main Titles - Roy Budd - Get Budd - The Soundtracks (CD) classic title song, written by Burt Bacharach and Hal David, was tacked on as an afterthought. Jones's Italian Job soundtrack featured "The Self-Preservation Society", destined to become a lager-lout anthem, and a jazz-waltz version of "Greensleeves" among snatches of mood music more clearly inspired by the film scores of Michel Legrand and Francis Lai. Get Carter made economical use of electronic keyboards, funkier bass lines and tabla drums, allowing the cinematographer Wolfgang Suschitzky's images of the Newcastle cityscape and the delivery of Hodges's hard-boiled lines by an expensively suited Caine to set the tone of menace and mayhem.
That's my type of music. Giuseppe Patroni Griffi. Brief Season. That Splendid November. Violent City. The Voyeur. I cannibali. Composed with Aleksandr Zatsepin. Investigation of a Citizen Above Suspicion.
The Most Beautiful Wife. The Bird with the Crystal Plumage. When Women Had Tails. Kill the Fatted Calf and Roast It. Two Mules for Sister Sara. Cold Eyes of Fear. The Decameron. The Cat o' Nine Tails. The Working Class Goes to Heaven.
Short Night of Glass Dolls. Forbidden Photos of a Lady Above Suspicion. The Case is Closed, Forget It. A Lizard in a Woman's Skin. Four Flies on Grey Velvet. Without Apparent Motive. Who Saw Her Die? What Have You Done to Solange?
The Fifth Cord. Devil in the Brain. The Master and Margaret. Chronicles of a Homicide. The Canterbury Tales.
Black Belly of the Tarantula. Life is Tough, Eh Providence? My Dear Killer. When Women Lost Their Tales. This Kind of Love. The Sicilian Checkmate. Property is No Longer a Theft. Night Flight from Moscow. Massacre in Rome. George P. Woman Buried Alive. Paolo Taviani Vittorio Taviani. Arabian Nights. Around the World with Peynet's Lovers. Composed with Alessandro Alessandroni. The Devil Is a Woman. La cugina. Almost Human. Last Days of Mussolini.
Eye of the Cat. Composed with Cesare Andrea Bixio. The Flower in His Mouth. Lips of Lurid Blue. The Sunday Woman. The Antichrist. Last Stop on the Night Train. Fear Over the City. A Genius, Two Partners and a Dupe. The "Human" Factor. The Desert of the Tartars. And Agnes Chose to Die. The Inheritance. Down the Ancient Staircase. Rene the Cane. San Babila-8 P. A Sold Life. Il prefetto di ferro. Michael Anderson. Exorcist II: The Heretic.
Rather, they carry that aura with them. It is not just at times of economic downturn that adapters turn to safe bets: nineteenth-century Italian composers of that notoriously expensive art form, opera, usually chose to adapt reliable—that is, already inancially successful—stage plays or novels in order to avoid inancial risks, as well as trouble with the cen- sors see Trowell A best-selling book may reach a million readers; Main Titles - Roy Budd - Get Budd - The Soundtracks (CD) successful Broadway play will be seen by 1 to 8 million people; but a movie or television adaptation will ind an audi- ence of many million more Seger 5.
Does the manifest commercial success of adaptations help us under- stand why the ilm he Royal Tenenbaums directed by Wes Ander- son with a script by Owen Wilson opens with a book being checked out of a library—the book upon which the ilm implicitly claims to be based? Because, to my knowledge, this ilm is not adapted from any literary text, the use of this device is a direct and even parodic recall of its use in earlier ilms, but with a dif- ference: the authority of literature as an institution and thus also of the act of adapting it seems to be what is being invoked and emphasized.
But why would a ilm want to be seen as an adaptation? And what do we mean by a work being seen as an adaptation? If we know that prior text, we always feel its presence shadowing the one we are experiencing directly. When we call a work an adaptation, we openly announce its overt relationship to another work or works.
Cardwell 9. I take such a position as axiomatic, but not as my theoretical focus. Although adaptations are also aesthetic objects in their own right, it is only as inherently double- or multilaminated works that they can be theorized as adaptations. Today that dominance has been challenged from a variety of perspec- tives e. Of more interest to me is the fact that the morally loaded discourse of idelity is based on the implied assumption that adapters aim simply to reproduce the adapted text e.
Adaptation is repeti- tion, but repetition without replication. And there are manifestly many diferent possible intentions behind the act of adaptation: the urge to consume and erase the memory of the adapted text or to call it into question is as likely as the desire to pay tribute by copying.
If the idea of idelity should not frame any theorizing of adaptation today, what should? As the next section will explore in more depth, the phenomenon of adaptation can be deined from three distinct but interrelated per- spectives, for I take it as no accident that we use the same word—adap- tation—to refer to the process and the product. First, seen as a formal entity or product, an adaptation is an announced and extensive transposition of a particular work or works. Transposition can also mean a shift in ontology from the real to the ictional, from a historical account or biography to a ictionalized narrative or drama.
Second, as a process of creation, the act of adaptation always involves both re- interpretation and then re- creation; this has been called both appropriation and salvaging, depending on your perspective. For every aggressive appropriator outed by a political opponent, there is a patient salvager. African ilm adaptations of traditional oral legends are also seen as a way of preserving a rich heritage in an aural and visual mode Cham It is its own palimpsestic thing.
But, from a pragmatic point of view, such a vast a deinition would clearly make adaptation rather dif- icult to theorize. My more restricted double deinition of adaptation as process and product is closer to the common usage of the word and is broad enough to allow me to treat not just ilms and stage productions, but also musical arrangements and song covers, visual art revisitations of prior works and comic book versions of history, poems put to music and remakes of ilms, and videogames and interactive art.
It also per- mits me to draw distinctions; for instance, allusions to and brief echoes of other works would not qualify as extended engagements, nor do most examples of musical sampling, because they recontextualize only short fragments of music.
Plagiarisms are not acknowledged appropriations, and sequels and prequels are not really adaptations either, nor is fan iction. With adaptations, we seem to desire the repetition as much as the change. Exactly What Gets Adapted? In law, ideas themselves cannot be copyrighted; only their expression can be defended in court.
And herein lies the whole problem. But all three are arguably equally subjective and, it would appear, diicult to discuss, much less theorize. Most theories of adaptation assume, however, that the story is the common denominator, the core of what is transposed across difer- ent media and genres, each of which deals with that story in formally diferent ways and, I would add, through diferent modes of engage- ment—narrating, performing, or interacting.
As Millicent Marcus has explained, however, there are two opposing theoretical schools of thought on this point: either a story can exist independently of any embodiment in any particular signify- ing system or, on the contrary, it cannot be considered separately from its material mode of mediation What the phenomenon of adaptation suggests, however, is that, although the latter is obviously true for the audience, whose members experience the story in a particu- lar material form, the various elements of the story can and are consid- ered separately by adapters and by theorists, if only because technical constraints of diferent media will inevitably highlight diferent aspects of that story Gaudreault and Marion Psychological development and thus receiver empa- thy is part of the narrative and dramatic arc when characters are the focus of adaptations.
But they may well change—often radically—in the process of adaptation, and not only but most obviously in terms of their plot ordering. Pacing can be transformed, time compressed or expanded. Shifts in the focalization or point of view of the adapted story may lead to major diferences. When David Lean wrote, directed, and edited the ilm version of E. In other cases, it might be the point of departure or conclusion that is totally transigured in adaptation. In other words, a personal crisis is made to replace a political one.
It was too abstract. On the soundtrack, their voices merge as well. If we move from considering only the medium in this way to consid- ering changes in the more general manner of story presentation, how- ever, other diferences in what gets adapted begin to appear. As we shall see in more detail shortly, being shown a story is not the same as being told it—and neither is the same as participating in it or interacting with it, that is, experiencing a story directly and kinesthetically.
With each mode, diferent things get adapted and in diferent ways. To show a story, as in movies, bal- lets, radio and stage plays, musicals and operas, involves a direct aural and usually visual performance experienced in real time. If a ilm can be said to have a three-act structure—a beginning in which a conlict is established; a middle in which the implications of the conlict are played out; an end where the conlict is resolved—then a videogame adaptation of a ilm can be argued to have a diferent three-act structure.
Acts one and three obviously do the narrative work—through showing—and set up the story frame, but both are in fact peripheral to the core: the sec- ond-act gameplay, with its intensity of cognitive and physical engage- ment, moves the narrative along through visual spectacle and audio efects including music and through problem-solving challenges.
Story, in this case, is no longer central or at least no longer an end in itself, although it is still present as a means toward a goal King Although there has been a long debate recently about whether inter- activity and storytelling are at odds with one another see Ryan ; Ryan c:what is more relevant in a game adaptation is the fact that players can inhabit a known ictional, often striking, visual world of digital animation.
Similarly, Disney World visitors who go on the Alad- din ride can enter and physically navigate a universe originally pre- sented as a linear experience through ilm. Even screen and stage media have diiculty with this dimension, because when psychic reality is shown rather than told about, it has to be made manifest in the material realm to be perceived by the audience.
Are some kinds of stories and their worlds more easily adaptable than others? Or did it? Linear realist novels, it would appear, are more easily adapted for the screen than experimental ones, or so we might assume from the evidence: the works of Charles Dickens, Ian Fleming, and Agatha Christie are more often adapted than those of Samuel Beckett, James Joyce, or Robert Coover. Historically, it is melodramatic worlds and stories that have lent themselves to adaptation to the form of opera and musical dramas, where music can reinforce the stark emotional oppositions and tensions created by the requisite generic compression because it takes longer to sing than to speak a line.
Today, spectacular special efects ilms like the various he Matrix or Star Wars movies are the ones likely to spawn popular videogames whose players can enjoy entering and manipulating the cinematic fantasy world. But most end up admitting defeat: the word has stuck for a reason. Yet, however straightforward the idea of adaptation may appear on the surface, it is actually very diicult to deine, in part, as we have seen, because we use the same word for the process and the product.
Adaptation as Product: Announced, Extensive, Speciic Transcoding As openly acknowledged and extended reworkings of particular other texts, adaptations are often compared to translations. Just as there is no such thing as a literal translation, there can be no literal adapta- tion.
Although this seems commonsensical enough, it is important to remember that, in most concepts of translation, the source text is granted an axiomatic primacy and authority, and the rhetoric of com- parison has most often been that of faithfulness and equivalence. In many cases, because adaptations are to a diferent medium, they are re-mediations, that is, speciically translations in the form of intersemiotic transpositions from one sign system for example, words to another for example, images.
Sometimes the text being paraphrased or translated is very immediate and available. In fact, a Life magazine article by P. But in artist Pierre Huyghe asked the real robber, John Wojtowicz, to reenact and narrate—in efect, to trans- late or paraphrase—the original event for his camera. In the process, a second-level adaptation occurred: as the perpetrator relived his own past, what became clear was that he could not do so except through the lenses of the subsequent movie version.
In efect, the ilm became, for him, as much the text to be adapted as was the lived event preserved in either his memory or the media coverage. In other words, it is a paraphrase or translation of a particular other text, a particular interpretation of history. Of course, he also had to ind two major narrative climaxes to replace the three of the trilogy.
Obviously, not all adaptations involve simply cutting. Short stories, in particular, have often inspired movies; for example, John M. Short story adaptations have had to expand their source material considerably. Of course, there is a wide range of reasons why adapters might choose a particular story and then transcode it into a particular medium or genre.
As noted earlier, their aim might well be to economically and artistically supplant the prior works. If this sounds somewhat familiar, there is good reason, given the long history in the West of imitatio or mimesis—imitation—as what Aristotle saw as part of the instinctive behavior of humans and the source of their pleasure in art Wittkower Imitation of great works of art, in particular, was not intended only to capitalize on the prestige and authority of the ancients or even to ofer a pedagogi- cal model as the Rhetorica ad Herennium argued [I.
In both, the novelty is in what one does with the other text. Beginning to Theorize Adaptation 21 For the reader, spectator, or listener, adaptation as adaptation is unavoidably a kind of intertextuality if the receiver is acquainted with the adapted text. It is an ongoing dialogical process, as Mikhail Bakhtin would have said, in which we compare the work we already know with the one we are experiencing Stam By stressing the relation of individual works to other works and to an entire cultural system, French semiotic and post-structuralist theorizing of intertextuality e.
Instead, texts are said to be mosaics of cita- tions that are visible and invisible, heard and silent; they are always already written and read. So, too, are adaptations, but with the added proviso that they are also acknowledged as adaptations of speciic texts.
Often, the audience will recognize that a work is an adaptation of more than one speciic text. In all cases, the engagement with these other works in adaptations are extended ones, not passing allusions. Part of both the pleasure and the frustration of experiencing an adap- tation is the familiarity bred through repetition and memory.
His muscular male swans and their homoerotic, violent, and sexually charged choreography allows, among many other things, the traditional pas de deux between the prince and the swan to be a dance of equals—perhaps for the irst time. Not everyone in the audience will enjoy this transgression of and critical commentary upon the sexual politics of the balletic tradition.
But no matter what our response, our inter- textual expectations about medium and genre, as well as about this speciic work, are brought to the forefront of our attention. As audience members, we need memory in order to experience diference as well as similarity. Modes of Engagement A doubled deinition of adaptation as a product as extensive, particular transcoding and as a process as creative reinterpretation and palimp- sestic intertextuality is one way to address the various dimensions of the broader phenomenon of adaptation.
An emphasis on process allows us to expand the traditional focus of adaptation studies on medium- speciicity and individual comparative case studies in order to consider as well relations among the major modes of engagement: that is, it per- mits us to think about how adaptations allow people to tell, show, or interact with stories. We can be told or shown a Main Titles - Roy Budd - Get Budd - The Soundtracks (CD), each in a range of diferent media.
However, the perspective, and thus the grammar, changes with the third mode of engagement; as audience members, we interact with stories in, for instance, the new media, from virtual real- ity to machinima. In the telling mode—in narrative literature, for example—our engagement begins in the realm of imagination, which is simultane- ously controlled by the selected, directing words of the text and liber- ated—that is, unconstrained by the limits of the visual or aural.
We can stop reading at any point; we can re-read or skip ahead; we hold the book in our hands and feel, as well as see, how much of the story remains to be read. But with the move to the mode of showing, as in ilm and stage adaptations, we are caught in an unrelenting, forward- driving story.
And we have moved from the imagination to the realm of direct perception—with its mix of both detail and broad focus. On the other hand, however, a shown dramatization cannot approximate the complicated verbal play of told poetry or the interlinking of description, narration, and expla- nation that is so easy for prose narrative to accomplish.
Telling a story in words, either orally or on paper, is never the same as showing it visu- ally and aurally in any of the many performance media available. Some theorists argue that, at a basic level, there is no signiicant diference between a verbal text and visual images, that, as W. See also Cohen b. In other words, no one mode is inher- ently good at doing one thing and not another; but each has at its dis- posal diferent means of expression—media and genres—and so can aim at and achieve certain things better than others.
Consider, for example, the interesting technical task the British nov- elist E. Forster set himself at one point in his novel Howards End: how to represent in told words the efect and the meaning of per- formed music—music that his readers would have to imagine, of course, and not hear.
In a telling mode, a novel can do this: it can take us into the minds and feelings of characters at will. Panic and emptiness! Totally moved, not to mention upset, by the end of the piece, she inds she has to leave her family and be alone.
Because we can only see Helen on ilm and not get into her head, we can only guess at her thoughts. In fact, Helen, from what we can see, seems rather more bored than upset by the whole experience. We do get to hear the full orchestral version of the symphony on the soundtrack nondiegeticallybut only after she leaves the hall, pursued by the young man whose umbrella she has taken by mistake.
Although Forster uses this scene to tell us about the imaginative and emotional world of Helen Schlegel, the ilm makes it the occasion to show us Helen meeting Leonard Bast in an appropriately culturally loaded context. In terms of plot action, that is indeed what happens in this scene, and so this is what the ilm aims to achieve. Of course, this ilm contains lots of performed talk about music, art, and many other things, and not only in this rather overt lecture form.
Interacting with a story is diferent again from being shown or told it—and not only because of the more immediate kind of immersion it allows. As in a play or ilm, in virtual reality or a videogame, language alone does not have to conjure up a world; that world is present before our eyes and ears.
But in the showing mode we do not physically enter that world and proceed to act within it. Stories, however, do not consist only of the material means of their transmission media or the rules that structure them genres.
But media distinctions alone will not nec- essarily allow the kind of diferentiations that adaptations call to our attention. Considering medium alone would not be useful to getting at the success or failure of this adaptation: although this machinima is in a digital medium, it is not interactive. If anything, the act of interpreting what is really a shown story here is even less actively engaging than reading the told version.
Beginning to Theorize Adaptation 27 his is not to say that we do not engage diferently with diferent media, but the lines of diferentiation are not as clear as we might expect. When we play a irst-person shooter videogame and become an active character in a narrative world and viscerally experience the action, our response is diferent again. Medium alone cannot explain what hap- pens when an interactive videogame is adapted into a museum-dis- played digital work of art, for it becomes a way to show, rather than interact with, a story.
In reversing the intended out- come by breaking all the Main Titles - Roy Budd - Get Budd - The Soundtracks (CD) of game action, the artist has ensured that the audience cannot and does not engage in the same manner as it would with the interactive game. Framing Adaptation Keeping these three modes of engagement—telling, showing, and inter- acting with stories—in the forefront can allow for certain precisions and distinctions that a focus on medium alone cannot.
It also allows for linkages across media that a concentration on medium-speciicity can eface, and thus moves us away from just the formal deinitions of adaptation to consider the process. We engage in time and space, within a particular society and a general culture. In shifting cultures and therefore sometimes shifting languages, adapta- tions make alterations that reveal much about the larger contexts of reception and production.
Even a shift of time frame can reveal much about when a work is created and received. Jekyll and Mr. Hyde, has been adapted many times for the stage and for the movie and television screens. To get a sense of the whole range, see Geduld For economic reasons, adapters often rely on selecting works to adapt that are well known and that have proved popular over time; for legal reasons, they often choose works that are no longer copyrighted.
Technology, too, has probably always framed, not to mention driven, adaptation, in that new media have constantly opened the door for new possibilities for all three modes of engagement. Lately, new electronic technologies have made what we might call idelity to the imagina- tion—rather than a more obvious idelity to reality—possible in new ways, well beyond earlier animation techniques and special efects.
We can now enter and act within those worlds, through 3-D digital technology. One of the central beliefs of ilm adaptation theory is that audiences are more demanding of idelity when dealing with classics, such as the work of Dickens or Austen. But a whole new set of cult popular classics, especially the work of J. Tolkien, Philip Pullman, and J. Rowling, are now being made visible and audible on stage, in the movie theater, on the video and computer screens, and in multiple gaming formats, and their readers are proving to be just as demanding.
Although our imaginative visualizations of literary worlds are always highly individual, the variance among readers is likely even greater in fantasy iction than in realist iction. Now that I know what an enemy orc or a game of Quidditch can look like from the moviesI suspect I will never be able to recap- ture my irst imagined versions again.
Palimpsests make for permanent change. As this suggests, a further framing of adaptation across all modes of engagement is economic. Broadway adapts from Hollywood; noveliza- tions are timed to coincide with the release of a ilm. November saw the infamous simultaneous international release of the ilm and multiplatform videogame versions of the irst installment of the story of Harry Potter. General economic issues, such as the inancing and distribution Main Titles - Roy Budd - Get Budd - The Soundtracks (CD) diferent media and art forms, must be considered in any general theorizing of adaptation.
To appeal to a global market or even a very particular one, a television series or a stage musical may have to alter the cultural, regional, or historical speciics of the text being adapted. Like others, I have found myself asking whether we could use any less compromised image to think about adaptation as both process and product. Stories also evolve by adaptation and are not immutable over time. Sometimes, like biological adaptation, cultural adaptation involves migration to favorable conditions: stories travel to diferent cultures and diferent media.
In short, stories adapt just as they are adapted. Some have great itness through survival persistence in a culture or reproduction number of adaptations. Adaptation, like evolution, is a transgenerational phenomenon. And the ittest do more than survive; they lourish.
Forms As it proved, among my best memories of the ilmmaking are the conversations drunken or otherwise I had with [director] Fred [Schepisi], in which we both acknowledged, I think, that, difer- ent as ilm directors and novelists are, our abiding obsession was the same: the mysteries of storytelling—of timing, pacing and the exactly judged release of information and emotion.
But as W. My emphasis on adaptation as process as well as product means that the social and communica- tion dimensions of media are important too, even when the particular emphasis, as in this chapter, is on form. When a change of medium does occur in an adaptation, it inevi- tably invokes that long history of debate about the formal speciicity of the arts—and thus of media.
As we have also seen, however, adaptation recalls as well, and usually to its disadvantage, that idea of a hierarchy in the arts. And this evaluative framework has had a signii- cant role in this debate about speciicity and diference throughout the centuries. Rather, it is when adaptations make the move across modes of engage- ment and thus across media, especially in the most common shift, that is, from the printed page to performance in stage and radio plays, dance, opera, musical, ilm, or television, that they ind themselves most enmeshed in the intricacies of the medium-speciicity debates; so too when works are adapted from either print or performance to interactive media, with their multiple sensory and semiotic channels Ryan c: But a dance work, a musical, a television show each has its own composite conventions and, some would say, even its own grammar and syntax that all operate to structure meaning for the perceiving audience.
Like all formal conventions, this grid both constrains and enables; it both limits and opens up new possibilities. On the contrary, a novel, in order to be dramatized, has to be dis- tilled, reduced in size, and thus, inevitably, complexity. Most reviewers saw this cutting as a negative, as subtraction, yet when plots are condensed and concentrated, they can sometimes become more powerful.
Another way to think about this distillation is in terms of narrative redundancy giving way to narrative pertinence, as in some ilm noir adaptations Cattrysse Sometimes even the novelist agrees on the beneits of changes in his or her work. A cut has been made; a motivation inserted, and an artistic clarity is the result. In ilm, no such disguise will be toler- ated by the viewer. When we watch a man do something on screen, our guts much more than our brains will tell us the truth of the ges- ture.
It cannot be fudged. Of course, ilm adaptations obvi- ously also add bodies, voices, sound, music, props, costumes, architec- ture, and so on. When Raymond Chandler adapted James M. Additions in performance adap- tations might range from this kind of stylistic and even ethical material to inserting new characters or increasing suspense.
Most of the talk about ilm adaptation, however, is in negative terms of loss. Sometimes what is meant is simply a reduction of scope: of length, of accretion of detail, of commentary Peary and Shatzkin 2—8.E, Moj Druže Beogradski! - Various - Rock Za Hrvatsku! (Vinyl, LP), Stairway To Punchbowl, Voodoo Doll - Various - Welcome To Montana: Please Leave Your Brain At The Border And Shoot Your Way, André Rieu - Strauß & Co (CD, Album), Jazzinin The Night (Medley) (Remix) - The Jazz Clubbers - Jazzinin The Night (CD), Dive In Your Love - Ernesto vs. Bastian - Authenticity (CD, Album), Adzagli (Jungle Funk) - Kofi Ayivor - Kofi (Vinyl, LP, Album), Density, Imperiet - La Casa Fantom - La Casa Fantom (Vinyl), Hinaus In Die Ferne - Various - Lieder, Die Uns Begleiten (Vinyl, LP), Ihr Kinderlein Kommet - Der Bendersche Kinderchor - Weihnachtslieder (Vinyl), Eleki Heiankyou - Wild Sammy & The Royaltones - Speed Crazy (Vinyl, LP, Album)